Table Of Content

Index to Volume 21 543 Goff, James R., Jr., a. Close Harmony: A “Louis Armstrong and the Clarinet,” History of Southern Gospel (Lornell, r) (Harker, a) 2:137-58 4:514-19 Making Music Modern: New York in the Gospel music, 4:514-19 1920s (Oja, a; Yang, r) 2:246-48 Harker, Brian, a, “Louis Armstrong and Mandel, Alan, r 4:532-536 the Clarinet,” 2:137-58 Meade, Guthrie T., a. Country Music Henry Cowell, Bohemian (Hicks, a; Yang, Sources: A Biblio-Discography of Com- r) 2:246-48 mercially Recorded Traditional Music Hicks, Michael, a. Henry Cowell, Bohemi- (Lornell, r) 4:514-19 an (Yang, r) 2:246-48 Milnes, Gerald, a. Play ofa Fiddle: Tradi- Hitchcock, H. Wiley, r 2:236-46 tional Music, Dance, and Folklore in Horowitz, Joseph, r 3:381-84 West Virginia (Strother, r) 3:387-89 “Hot and Sweet: Big Band Music in “Minimalism, Postminimalism, and the Black West Virginia before the Swing Resurgence of Tonality in Recent Era,” (Wilkinson, a) 2:159-79 American Music,” (Bernard, a) 1:112- Hubbert, Julie, a, ““Whatever Happened 33 to Great Movie Music?’: Cinéma Vére- Music Education, 4:521-25 ité and Hollywood Film Music of the “Nationality versus Universality: The Early 1970s,” 2:180-213 Identity of George W. Chadwick’s Hymnody, 4:391-411 Symphonic Poems,” (Yang, a) 1:1-44 The Indiana University School of Music Nettl, Bruno r, 4:521-25 (Logan, a; Nettl, r) 4:521-25 The New York Schools of Music and Visual Inglis, Ian, a, “‘Some Kind of Wonder- Arts (Johnson, e; Smigel, r) 2:249-54 ful’: The Creative Legacy of the Brill Nineteenth Century Music (Special Is- Building,” 2:214-35 sue, Preston, e), 3:255-374 An Introduction to America’s Music Norton, Kay, a, “Who Lost the South?,” (Crawford, a; Hitchcock, r) 2:236-46 4:391-411 Ives, Charles, a. New England Triptych; Oja, Carol J., a. Making Music Modern: Variations on “America”, rec (Jensen, r) New York in the 1920s (Yang, r) 2:246-48 4:531-32 Olmstead, Andrea, a. Juilliard: A History Jazz, 1:74-111; 2:137-58; 2:159-79; 4:525- (Nettl, r) 4:521-25 29 “On the Influence of Jazz Rhythm in the Jensen, Bryon, r 4:530-32 Music of Aaron Copland,” (Klep- Jewish music, 3:384—-86 pinger, a) 1:74-111 Johnson, Steven, e. The New York Schools Opera, 3:349-74 of Music and Visual Arts (Smigel, r) Orr, N. Lee, a, “Dudley Buck and the 2:249-54 Secular Cantata,” 4:412-45 Joseph Schillinger (1895-1943): Music Piano Music, Vol. 1, rec (Mandel, r) Science Promethean,” (Brodsky, a) 4:532-536 1:45-73 Piano Music, Vol. 2, rec (Mandel, r) Juilliard: A History (Olmstead, a; Nettl, r) 4:532-536 4:521-25 The Pilgrim Jubilees (Young, a; Lornell, r) Kleppinger, Stanley V., a, “On the In- 4:514-19 fluence of Jazz Rhythm in the Music Play of a Fiddle (Milnes, a; Strother, r) of Aaron Copland,” 1:74-111 3:387-89 Klezmer, 3:384-86 Popular music, 2:214-35 Logan, George M., a. The Indiana Univer- Preston, Katherine K., a, “American sity School of Music: A History (Nettl, Musical Life of the Late Nineteenth r) 4:521-25 Century,” 3:255-59; “Between the Lornell, Kip, r 4:514-19 Cracks: The Performance of English- Lott, R. Allen, a, “Anton Rubinstein in Language Opera in Late Nineteenth- America (1872-1873),” 3:291-318 Century America,” 3:349-74 544 Index to Volume 21 Rubinstein, Anton, s 3:291-318 “A Tidal Wave of Encouragement” (Bomb- Sacred music, 4:391—411; 4:214—45; erger, a; Horowitz, r) 3:381-84 4:514-19 To Stretch Our Ears: A Documentary His- Schenbeck, Lawrence, r 1:134-36 tory of America’s Music (Alexander, e; Schillinger, Joseph, s 1:45-73 Hitchcock, r) 2:236-46 Schuman, William, a. Violin Concerto, rec Tucker, Sherrie, a. Swing Shift: “All-Girl” (Jensen, r) 4:530-32 Bands of the 1940s (Barron, r) 4:525-29 Siegmeister, Elie, a. Piano Music, v. 1-2, Violin Concerto, rec (Siegmeister, a; Man- rec (Mandel, r) 4:532-36 del, r) 4:532-536 Slobin, Mark, a. Chosen Voices: The Story Warfield, Patrick, r 3:375-80 of the American Cantora; American West Germany, 4:474-513 Klezmer: Its Roots and Offshoots (Co- West Virginia, 2:159-79; 3:387-89 hen, r) 3:384-86 ““Whatever Happened to Great Movie Smigel, Eric, r 2:249-54 Music?’: Cinéma Véreité and Holly- Smith, Catherine Parsons, a. William wood Film Music of the Early 1970s,” Grant Still: A Study in Contradictions (Hubbert, a) 2:180-213 (Schenbeck, r), 1:134-36 “Who Lost the South?,” (Norton, a) “Some Kind of Wonderful’: The Cre- 4:391-411 ative Legacy of the Brill Building,” Wilkinson, Christopher, a, “Hot and (Inglis, a) 2:214-35 Sweet: Big Band Music in Black West Sousa Marches Played by the Sousa Band: Virginia before the Swing Era,” 2:159- The Complete Commercial Recordings, 79 rec (Warfield, r) 3:375-80 William Grant Still (Smith, a; Schenbeck, Starr, Larry, r 4:537-41 r), 1:134-36 Still, William Grant, s 1:134-36 Women in music, 4:525-29 Strother, Eric S., r 3:387-89 Yang, Hon-Lun, a, “Nationality versus Swing Shift (Tucker, a; Barron, r) 4:525- Universality: The Identity of George 29 W. Chadwick’s Symphonic Poems,” “Taking the Private Public: Amateur 1:1-44 Music-making and the Musical Audi- Yang, Mina, r 2:246—48 ence in 1860s New York,” (Bruhn, a) Young, Alan, a. The Pilgrim Jubilees (Lor- 3:260-90 nell, r) 4:514-19 Theremin: Ether Music and Espionage (Glinsky, a; Gann, r) 4:519-21